A relaxed looking group of predominantly middle aged musicians nonchalantly walk onto the Uptown Theater stage Sept. 27 and take their positions. Moments later a smooth rhythm begins to sound, seemingly from nowhere, as the intro crescendos from silence. A steady groove is established and a tiny man in a swanky suit bops onto the stage. The room is instantaneously impassioned by Leon Bridges’s fervent dancing and high energy stage presence.

For the duration of the set there is never a single visible lapse in vivacity from the 27-year-old Fort Worth, Tex. native. If the nonstop singing and dancing for nearly two hours was at all draining, Bridges effectively concealed his fatigue and continued to put on the best show he could. Seriously, he danced to every single song; even the impossibly slow ballads.

In comparison to some of the other artists of Bridges’ generation that have recently come through Kansas City on tour like Justin Bieber, there is one clear mark of distinction that sets Bridges apart. Passion. Not to say that Bieber is apathetic in his art; Bieber actually had incredible success with both album and ticket sales this year, however, reviews of his concert were underwhelming. Audience members complained that he seemed tired, unenergetic and disinterested.

Bridges, however, announced that despite the exhaustion he was understandably feeling from a jam packed tour, he was going to put on the best possible show he could because, “I know the work you all do everyday is a whole lot harder than the dancin’ I’m doin’ up here,” Bridges said.

Bridges is retro in all regards, from his maintenance of gratitude to his supporters, nearly nonexistent in the rest of the current music industry, to the sound and style of his music. His songs predominantly range from rhythm and blues to gospel and soul. With the help of a drummer, a bassist, two guitar players, a piano/keyboard player, a saxophonist and one backup singer, Bridges skillfully executed every number on the 20 song set list.

Of the extensive 20 song set list, the undeniable standout was Bridges’s cover of Ginuwine’s 1996 R&B hit, “Pony.” The quick change from Bridges’s soulful ballad, “River,” to the powerful bass notes of Ginuwine’s explicit single was definitely a surprise to the audience. However, the soulful edge Bridges’s band brought to the piece meshed the cover into the set in a way that while unexpected, was still pleasing to listeners.

Every song of the set was personally introduced by Bridges before its burst into action. Explanations of motives behind writing specific songs offered the audience a deeper look into the mind of the artist than they had anticipated. “Lisa Sawyer,” Bridges’s mother’s name and the name of one of his most popular songs was introduced as having been written about, “The best woman in my life,” Bridges said. When it came time for “Twistin’ & Groovin’,” Bridges explained, “This next song was written based on my grandfather’s description of the first time he saw my grandmother.”

Bridges encapsulated the attention of the audience before the first song even truly began as he fervently danced his way from side stage to center spotlight. From start to finish the passion Bridges felt for his music illuminated the stage. The thin sheen of sweat on his forehead that he continually wiped away, proved to the audience that the performance he puts on is no walk in the park; it is a full fledged pouring of passion that other artists of the generation would do well to take note of.